First off I have to confess to being totally ignorant as to Teddy Thompson's existence up until I saw a documentary/tribute concert about Leonard Cohen at Sundance this year. With his classic singer-songwriter look accented by a long curly leonine mane and James Taylor-esque voice he delivered a stunning rendition of "Tonight Will Be Fine" which was perhaps my favorite performance of the lot and that's saying something considering the talent assembled on that stage.

Since Linda Thompson also took part in the Cohen tribute - I made the ingenious logistic leap that perhaps this compelling personage might indeed be the progeny of guitar icon Richard Thompson and his on again off again wife and stage partner Linda. Indeed a folk pedigree that rivals Rufus and Martha Wainwright's folks - both of whom (Rufus and Martha, to clarify) also commanded the stage in the selfsame Cohen confab.

I put in enough google research to confirm my suspicions and also learned that his second album was due for release shortly - paydirt. The album Separate Ways is a somewhat satisfying slice of neo-folk pop that I can't help but like in spite of it's enormous debt to the Brothers Finn. Kyle England (this sites indisputable musical swami - a man for whom deference must be paid) feels the albums' Finn-ish filching is too criminal to overlook. With all due respect however, this time I'm going to go my Separate Way, because it is the album's Crowded House-party that I find quite warm and welcoming.

The album is a party of sorts, as an amazing array of talent has been invited to contribute a little something to the celebration, among then: Richard and Linda Thompson, Rufus and Martha Wainwright, Garth Hudson of The Band fame and drummer Matt Chamberlain of every band fame. Beyond the obvious Finn-fluence, I think the first impression the album made on me was it's general resemblance to that David and David album Boomtown that Baerwald and Ricketts did before splitting to work with non-Davids. Vocally Teddy can be pinned down in the vicinity of Taylor Street and Lyle Lovett Lane, just around the corner from the Finn's Cramped Crib.

Ironically it's the title track that represents the most blatant act of House-hunting, It's more than just a bit of cribbing - it's full on grand larceny. You could sneak "Separate Ways" somewhere in the mix on Woodface and only a diehard fan would notice any irregularity. There are plenty of other minor infractions, but like I say, I love Crowded House and to hear those harmonies even from an impostor is enjoyable. The record itself is such a mixed bag that it never establishes much of a flow or identity, but taken on their own most of the songs are strong enough to overcome this quibble.

In spite of the sometimes melancholy lyrical content, most of the songs fairly percolate with infectious rhythms and even the throwaway tracks like "Think Again," and "That's Enough Out of You" are often redeemed by a tasty lick from Papa Thompson. The songwriting quality tips just enough toward the glass half-full side of the ledger that when combined with all this impeccable musicianship Separate Ways is a thumbs up album in my book, though hardly a "must own."

The slower more pensive tracks such as "Sorry To See Me Go," "Frontlines," and No Way To Be" showcase Teddy's prodigious vocals and the latter "No Way To Be" seems to be a tip of the hat to Ryan Adams. When you factor in all the interesting family tree aspects, along with a decent batch of songs that, however unoriginal, are just good enough to make the package work, it adds up to a marginal reccomendation. Besides what has Crowded House done for us lately?